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on the point of being brought together, on the eve of being arranged into mountain, plain, plateau” (100
the pagan/Judeo-Christian symbol of the spherical censer to the mesas and their “attendant clouds” (100
seemed fluid to the eye under this constant change of accent, the ever varying distribution of light” (100
Lincoln: U of Nebraska P, 1996. 100–114.Slote, Bernice, and Virginia Faulkner, ed.
on him”; his mother, too, feels that circumstances have conspired to ensnare her son in “a net” (99–100
One of Ours 421–22 with Cather’s earlier description in Willa Cather in Europe 93–100).
absolute and infinitely sweet,” “vested with a peace that passes understanding” (Willa Cather in Europe 100
New York: Knopf, 1956. 93–100.Cather, Willa. Letters to Dorothy Canfield Fisher.
New York: Knopf, 1956. 90–100.Lewis, Edith. Willa Cather Living.
PMLA 100 (1985): 51–67.Smetanova, J. “Beloved Artist.” Art and Artists 13 (1978): 53.Stouck, David.
continual circling” and freedom to “go backward and forward” from one pole to its opposite (“Joseph” 100
’s survival has to do with his final conscious transcendence of this conflict (Cather’s Imagination 100
The circumstances leading to the discovery, restoration, and display of these tapestries (Cavallo 100
In The Professor’s House, Cather comments on this aspect of the Bayeux tapestry (100).
See Boudet 5–7.The Bayeux tapestry is mentioned in The Professor’s House (100).Relative to these virtues